Chazen Calendar April–May 2018 | Page 3

Art History Curatorial Studies: What’s in a Jug February 9–April 8, 2018 Oscar F. and Louise Greiner Mayer Gallery For this exhibition, students enrolled in Introduction to Museum Studies: Theory & Methods examine molded Victorian Victorian molded jugs are the focus of the Art History jugs, vessels that were some of the Curatorial Studies exhibition. Photo Eric Baillies. most-popular and ubiquitous forms of the mid-nineteenth century. These objects cross areas of study including Victorian art and design, ornament drawn from popular culture, and improving technologies of molding. Drawn to Art: Celebrating the Waisman Center's Harvey A. Stevens International Collection of Art by People with Developmental Disabilities May 11–July 15, 2018 | Pleasant T. Rowland Gallery With more than 220 works by artists from 15 countries, the Harvey A. Stevens International Collection of Art by People with Developmental Disabilities is intended to, among other goals, encourage people with disabilities to express themselves and expand their world through art. To celebrate the launch of Drawn to Art, a book about the collection, the Chazen hosts an exhibition featuring a selection of works from the collection. The Friends of the Waisman Center at UW–Madison sponsor the collection. Watanabe: Japanese Print Envoy Derrière: Works by Michele Marti The Paula and Russell Panczenko MFA Prize June 1–September 2, 2018 Leslie and Johanna Garfield Galleries April 20–July 8, 2018 Oscar F. and Louise Greiner Mayer Gallery The 2018 Chazen Museum Prize has been awarded to Michele Mart i. Marti’s upholstered furniture with mono-printed surfaces shows the interaction between the body and object, as she thinks about the body, vulnerability, control, and how we present the self. Bodies smash and squish in and onto the surfaces on which they rest—of this we have no control. But everyone has a body, and every body is unique, just like fingerprints. Marti is interested in the depository of memory and the traces we leave behind, all the while creating an intimate moment between the viewer and the work. Emily Zilber, the Ronald L. and Anita C. Wornick Curator of Contemporary Decorative Arts at the Museum of Fine Arts, Boston, was the juror for this year’s prize. RIGHT (TOP AND BOTTOM): Michele Marti (American, b. 1986), Untitled, 2017, lithograph, 22 x 30 in. Natori Shunsen (Japanese, 1886–1960), Ichikawa Sadanji II as Marubashi Chuya, from the series Supplement to the Collection of Shunsen Portraits, 1931, color woodcut, 14 ¾ x 10 in., bequest of John H. Van Vleck, 1980.2955 In the early twentieth century, Shozaburo Watanabe started his publishing business, hiring a new generation of artists and craftsmen to create Japanese prints in the time-honored tradition of Hokusai and Hiroshige. To identify his prints Watanabe coined the term “shin hanga” or “new prints.” Like the prints of the previous century, they were colorful images of Japan’s people and natural beauty. However, Watanabe actively courted the international market, touring his prints in the United States, and making the prints more appealing to foreign buyers by, for instance, including the artist’s name and title in roman letters. Combining Japanese and western sensibilities, these prints established their own aesthetic in the market.